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Different Mediums & Formats

Lesson 2 from: Film and Digital Formats for Creative Fashion Photography

Emily Soto

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Lesson Info

2. Different Mediums & Formats

Lesson Info

Different Mediums & Formats

yes, next, going to be showing some of my different photography and film mediums that I use before he shipped into that. This is one that I on a sort of the right shot for Laura magazine that was published earlier this year, and it's a Polaroid transfers and going kind of cover the Polaroid transfer. That's a very long process in the dark room, but it shot digitally and transferred to Polaroid. So that's what I love Polaroid about something I'm really pastured about love using. So this is just a list of my equipment. So my main camera right now, the stand Sony, a seven r two, which is a Marylise cameras. It's amazing. It's 42 megapixels. So this very big, very large images, which is great for my clients. They started requiring larger images, and I liked it because it was lightweight and it could be the images could be blown up for a billboard or whatever. They're using it for everyone. Yeah, I am, uh, support team. Basically, I set up all the lights on, and I help her by buying film an...

d anything she might need. So, yeah, we're excited to have some awesome sponsors. Thean possible project has been really helpful in sending film and really developing her instant film work. If you guys were familiar with out, they have the new I one that they just came out with. And she didn't exhibition at MoMA with all shot on the I won. So it's It's pretty amazing with the colors and the really the feeling that's involved with instant photography and the way it's developing, and they're at the forefront of it. So we're excited to be teaming up with them as well as mammography. You guys are near with them. They have some amazing lenses that are bringing back old analog and dig area type type of lenses that are really old school. Give that really single element dual element lens flares and Boca and really give you a ah, a new perspective on your photography eso she's always been using, you know, different kind of cameras and trying to really make you know a good choice on what to use with her photography and film work. So this is one that was custom made for her by Dora Goodman over in where? Budapest. Budapest, It's ah, 24 karat. She's an amazing craftsman and remaking old 35 millimeter cameras. New and, um, Emily uses this like as well as an M seven with Fuji Chrome 400 h, so she uses 400 T X and other types of film as well, which are pretty much the standard if you can still find them. But yes, generally I'm mixing depending on my client. I always have my the Canon Eos camera That's a film camera that looks like a digital camera. But I always have that with black and white film. It generally every shoot because I love lock and wife, whom I love, the timelessness, that again and then the rest of them. It really depends on my client with its editorial. If it's for Ah, look, book or campaign, it depends on the needs of the day in the time of the day. Sometimes I'll be shooting up upto 40 look so I don't have a lot of time for Polaroids, but I tried to have them in as much as I can, and then lately, I e just put two bands. This past month only wanted Polaroid, so it's great to whenever I had those clients that that's that's all I do for it, So that's always exciting. Some of the lighting that I use is you guys we'll see later. But I used the West caught rapid box and the sky looks so that's what I'll be using later today, and I'll be showing you on and we have. The three different lives is by LaMotte Graffiti. So we have the Daguerreotype Acrobat and then the Pats, full 58 in so they all get kind of a different effect. I'll show you guys a few photos with that in a minute, but they give two of them get kind of a swirly Boca. 11 is a portrait lens and then once a wide lands and one has control over the Boca and other one doesn't on. And then the Gary A type is very much like old film filmland, so it's a little bit blurry, but I'll be shooting that later, and also we'll be using these Polaroid four forties, which are basically refurbished old cameras that you can still use pack film that you could still buy today. 400 t x. I mean FP b and we'll be using some expired Cem 669 film off of eBay and that we have. So if we have time, we'll use that as well on the 1 95 Polaroid, which has a 3.8 lens, and it's it's really beautiful camera. So hopefully we have that time to sneak that in, um, and as well as other equipment that we use. I just designed this new camera back that we started using, and, um, Emily likes it, So I, you know, im a designer. So I really want to develop something that she could use and that other people would enjoy as well, something that's really low profile that's patted, that has structure magnetic and conferred everything you want. Two camera bodies, three lenses and then another field pack on the top that you can put your like small belongings into. So, yeah, it's pretty awesome, and I'm really excited to be to have launched this this year, so I'll just quickly show you interior, and they also confer the 15 and slap top. So it's pretty awesome, and family has been using a lot. So here's I want to show you guys before we start shooting. I want to show you some examples of the lighting, but I'll be using today. So these were both with the backdrop that I had the left. One was for a campaign again, prick, lair, petty bone. And then the right one was with the daguerreotype Acrobat land. So that was using the same lighting set up that we use with more of a fine art land. So it gets a little bit more of a blur. Teoh and these were both with the five d mark three. These were with the Sony A. Seven are, too, both for clients this year, and this was different lighting set up, but it was both with the West Cuts. They were both with the West cut sky lugs with natural light, a window on the right side, and they were for Claire Pettibone and Alexander Greco. I love like the softness that it gets, and I was shooting with a lower aperture for both of these as well, but it was still very, very sharp image, which was what my clients needed for the shoot. And then this is a list of the film that we just went over. So the Canon Eos is my main go to. It's because it's 35 millimeter. It's really easy to use that has interchangeable lenses. So I use a lot of my canon lenses, especially the 85 1.2 lens in the 51.4 and then with the like of as victims mentioned, I used the try axe and the use a lot of poor Trump. And with the land camera on the MP 3000 B as well as that, he 100 see an impossible project told me a little bit about the I one. But it's an amazing camera, has an app, so it's fully manual and you're able to control it from your phones will be showing you guys got in a minute, but that's been a really cool camera that I've been using this year. So here's a couple of photos with it. The right one was for the future with the magazine. The Left one was one of the was. It was part of the exhibition with Impossible Project earlier this year. These are with the Canon Eos So this is I don't think he should be this one, but this is the Canon Eos and it looks like a digital camera. Most of the time, my clients think I'm training with the digital cameras, so they're a little confused when it's not popping up on the screen because I'm generally tethering. But that's a great Cameron. It really just gets a timeless photos. I love the black and white in the grain that it gets just to me. I just love them forever because it has that timelessness. Beans are with the Lands camera. The right one is expired 669 film. The left is the P 3000 beef Ill, and it's a little bit. You have a little bit of abortion on there from when you pills, Little parts will be sure you guys that later and then. This is just an example of the Polaroid transfers I have. Some of them. Up here is well that were exhibited last year at tomography. I did. I've done a couple of exhibitions just with the Polaroid transfers last year and then had I've had several with mammography in Paris and London and here in New York. Yeah, so this is an example. So it's shot digitally and transferred to Polaroid's It's a lot. It's a really long positive, but I love it. It's great because then you can you still have that you can do something later. If you're you have to shoot digital due to time or whatever it is, you can choose the transfer later. And then this is just kind of a photo of the process, I was wondering. So when you use the film, are you developing that all yourself? No. I actually have developers here in New York that they do every do the 35 millimeter for me and then they transfer it all to me through Dropbox lives very seamless with a Polaroids. I'm scanning them all in afterwards way. Have some great questions coming in for the folks at home. Thank you for that. So before we start shooting, this is from Addy. Far. Who says your style has a fine art? I kind of feel to it. In comparison to traditional fashion photography. How does this affect the types of clients that aired on to your work? In particular, when you mix fashion and fine art, how do you go about determining the best market that could easily go in either direction. So as you're talking about your courier, yeah, yeah, I think that's a great question, because I think that with photographers, I think it's really important to find your style. And that's what I always kind of focusing one. So I definitely have my style. But people book me based off of my kind of off my work and my style, and not necessarily for that. I have a lot of people, a lot of clients, little book me because they love my black and white film. But but they say the same time they want it all digital or wanted a certain way. I also have, like I mentioned earlier. I have a lot of bands and different campaigns. They where they only want Polaroids. The I have a photo down here that what's for Boutique 18 61 over in Montreal? We did the full campaign and then afterwards they want decided they wanted it all on Polaroid. So we did. Polaroid transfer is this when it's actually a digital image, but they ended up. I ended up adding that to the package and they transferred all of the final images and put them up all around the stores well as used that for their campaign. So So I think I think it's really important to toe find your style, and people will book you off of that. And then I took all kinds of different clients, have a lot of bridal clients. I have jewelry, I have lingerie. I do watch it. So So even though sometimes it's more commercial or lifestyle, their booking me because they like my style, think and want me to add just a little bit of that into what they're looking for. Great. Thank you. And then this is kind of follow up to that from Ben is off of online. How do you or other photographers fashion photographers pull off the slightly out of focus image so well, is it intended to happy accidents? And you're talking about some of the lenses that you're gonna talk show is talking about. And so the question is, is there technique to follow our any pointers to doing that right now? There's a really good question. I think about your creative I and I think it's also about your client for account for me with campaigns. They're booking me because they want that creativity. It's not as much about the focus being on the grounds of the dresses or the whatever the clothing is. So it's more about that creativity and finding, finding that in a way that the view were looks that I find really find the Pilling and it captures the audience. Then I also do a lot of look books or catalogues, and that's where you have to have a very much and focus, and they're kind of checking the focus with me all day. I always am tethering my image, which I'll show you guys later so that the clients are able to sit there and look through it. And I do that one campaigns or look books whenever I'm not shooting film, and sometimes they completely won't film. So we yeah, of course, would never intriguing film. They aren't expecting it to be, ah, 100% sharp, because film is beautiful of its own. And that's what they're hiring before. Yeah, right. So before we go into the shoot, can you talk a little bit about working with a team? And I know it's such a big part of what you dio and how that team dynamic, but also, the communication works. Aziz. We'll see. Yeah, yeah. So for today I booked the team. I've worked with Alex London pretty much since I moved to New York. She's an amazing designer here, and I just love her work. So she has a new collection that we've been talking about shooting together for a while. So Alex and I asked her to dio Creativelive! And this is how I worked with most of my team's. Whenever it's at whenever editorial, I'm always working with my stylist. We're going back and forth on ideas and mood board. Well, I always create mood boards through Pinterest because I'm all constantly saving images and then my stylist are, too. And the great thing with working with stylist is there constantly seeing the new trends and following fashion and what's just off the runway. They're able to pull that with Fashion Week that just happen. Earlier this month, we were able to bring in a lot of the models that were on the runway and shoot the line before it was on the runway than right after. So so with different clients were about to get things that are happening right now. So So with that, though, it's deciding makeup and hair in the model in the whole team. So it's talking with the agency's seeing who, what models are in town at the moment. And then I'm always looking at the model's portfolio so online they have what we refer to his books. So it's just a different pictures from each of each models. I'm looking at the angles and looking at what might work with the fashion direction who, what kind of face would work with that, whether it's more ethereal or it's more high fashion, I need someone that's really strong. So I'm really assessing the different models, portfolios and books. And then after that, I'm sending I put together a mood board, so it's just a collection of different images that I find on Pinterest or online, and I put this together and send them to my team. And then we all work together on that. So for today I gave pristine who's really makeup in here, just reference for the makeup and hair that I thought would work really well with the clothing. So he wanted something a little bit darker, more Victorian kind of Vogue Italia inspired I know with Alex. She always has very ethereal, kind of dark, dreamy, closed. So So what? That I knew we wanted to do something more about Italian. Beautiful and kind of Steven Meisel was fired. So that's generally how I go about working with the team.

Ratings and Reviews


This was a very interesting class. I love Emily's personal style and I would love to see a 2 or 3 day class by her on Creativelive.

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